New Gallery Representation

Happy to announce that I have new gallery representation with Edgewood Orchard Galleries in

in Fish Creek, Wisconsin. Its a beautiful place in the heart of Door County. They open again on

May 6th through October 29th, 2017 for their 49th season!

Edgewood Orchard Galleries



Per Sempre Blu        30″ x 30″        oil/mixed media on panel        2016

On Milwaukee article about our Open House at Lincoln Warehouse


Open House at my Studio on June 2nd from 4:00-7:00pm

Featured Artist in the May Issue of Woven Tale Press


Luogo Misterioso

Luogo Misterioso   20″ x 16″   oil/cold wax/mixed media on panel


Honored to be a Featured Artist in the May issue of the online art’s publication Woven Tale Press!

Here’s a link to our online catalogue:


Studio Musings

Lasciato alle Spalle 2

in situ

Lasciato alle Spalle    30″ x 60″    oil/cold wax/mixed media on panel – shot from my home studio in Bayview


I wanted to share a few recent musings and thoughts from my studios…


rust like

detail of a work in progress


I respond to the evocative nature of a palimpsest revealing the forces of time and atmosphere intertwining with the random marks and other vestiges of human touch. Forms that hover in an indeterminate space contain a visual resonance that is intriguing to me. The longer I paint, the more I understand that it takes quite the orchestration to achieve a compelling surface. This usually has to unfold gradually over many generations of layered paint. I know for me, this takes both specificity and chance within the whirlwind of painting activity. I’m drawn to the effects of time and such natural elements as wind, water, and sun, on manmade structures. These may range from places as far away as the fading frescoes of Pompeii and as close as my present day urban environment. Since my inspiration comes from effects that build over time – often decades and sometimes centuries, creating this look is an ongoing challenge of materials and process. I find it’s a balancing act of grand opposites. While building a painting, sometimes I proceed slowly so I can really watch what is happening and at other times it’s a matter of rushing in with abandon having little idea exactly where it will go. 


gathering scruff 2

Finding inspiration in the color and patina of our urban environment


Desiderio iphone

detail of Desiderio Sequente   16″ x 16″  oil/cold wax/silver leaf on panel


My past students know I often encouraged them to loosen up and ‘throw caution to the wind.’  I think about this sometimes while working to build a surface. Giving up initial gestures can be both hard to relinquish but also kind of freeing at the same time. What I love in the beginning usually ends up being buried under successive generations of paint forever.  Only after building layers and layers of paint does it become clear that the proverbial ‘ringer’ of time and touch does have its rewards. This is both an additive and subtractive process and may involve lots of ambitious layering or an excavation – digging to discover treasures below. The chase of losing or gaining it all keeps things interesting because riding that wave is rarely predictable.  This never ending rhythm of chance makes my current work possible.


small detail with aqua

detail shot from Messagi Lotto I    48″ x 36″  oil/cold wax/mixed media on panel


This week, for a number of reasons, I painted more at home than at the Lincoln Warehouse studio. Most often in the last half year or so, its been the other way around. It’s been very interesting over the many years to work in two studios – one relatively small space in the attic of our home and two different expansive spaces in converted warehouse buildings. I am certainly grateful for the range of artistic experiences between the two somewhat opposite environments. While there are moments that seem daunting hauling stuff back and forth, there are practical and conceptual benefits in changing locale. On a practical level, it allows things to cure and dry for a while in each space. I can definitely work larger and on more pieces concurrently in my commercial studio. On a deeper level, the physical and mental distance between the two spaces allows for a unique type of artistic contemplation. After being in one  location for a few days, returning to the other studio with fresh eyes can be an inspiration in itself. There are bridges between the two very different worlds. The digital trails I create through endless documentation offers insight into my working process independent of where the paintings are made. I’ve come to think of painting in two studios as a kind of exploration akin to traveling in a way. It’s always wonderful to venture, and always great to be home!


Lincoln facing west

Lincoln Warehouse Studio



Ink and gesso studies made on a table in the south room in the attic studio


Lilly Back Studio

Lilly is always happy when I work at home!



Galerie du Soleil


239-417-3450 /

Pleased to have new paintings in the Nouveau 2016 exhibition that opened January 20th at Galerie du Soleil in Naples, Florida.




Art Is


Germany Show

‘Art Is’ is group exhibition in Germany curated by Bernard Bieling. Many of us in the this show were part of ‘The Drawing Box’ for a number of years. The Drawing Box group was a collaborative international traveling exhibition of small drawings. We showed our drawings together in Ireland, Italy, the Philippines and Malaysia before it was archived in Ireland.




CY TWOMBLY. Paradise | Venice, Ca’ Pesaro | May 6 – September 22, 2015

CY TWOBLY. Paradise | Venice, Ca' Pesaro | May 6 – September 22, 2015.

Moments and Remnants in the Studio

Moments and Remnants in the Studio

I have always loved going into other artist’s studios. Without seeming too effusive, they seem like a magical space; something different from the everyday world happens there. And now, that the digital world is bringing more and more onto our screens, with myriad devices everywhere, I’m grateful to see so many  studios these days!

So, I decided to start taking and posting more studio shots from the inevitable aftermath of time spent there with my beloved cat Lilly, an abundance of  materials, piles that seem to build both vertically and horizontally, happenchance overlaps of cascading papers, and palettes that move between both peaceful forays and challenging battles of mixing colors and other concoctions with oil paint.

The patina of studio ‘stuff’ that has built up over the last twenty-two years echoes some of the ideas, meaning and processes in the relative adventure behind making the paintings. Usually there is at least a tenuous relationship between how much mess is left in my tracks and how fearlessly I am approaching a piece. In a way, it’s not unlike those gorgeous walls in Italy I am so enamored with where many unpredictable overlapping phenomenon slowly build a palimpsested surface. Here are some moments and remnants shot walking around my studio over a few days this late September.

The Drawing Box – International Art Exhibitions


Drawing Box -Jean Doyle

Jean Doyle project


It has a page on Facebook without which it could not be what it is.

Soon after her return from her residency in India, Diane Henshaw together with  Andrew Crane, John Crabtree, and Patil Rajendra, started the first Drawing Box that opened in Mumbai (2013). Then it travelled to Belfast (Crescent Arts Centre, April 2013), Enniskillen (The Higher Bridges Gallery, May 2013) and Dublin (Ranelagh Arts Centre July-August 2013). Some future venues are planned in Malaysia, Philippines, Berlin, Lithuania, Slovakia, South Africa, USA, England and Italy.

DB exists because artists love to draw, are prepared to pay the postage, and the hosts are taking on full responsibility for occupying the space offered by the venue. Not in a small way, it exists because of Facebook’s capacity to revitalise the idea of mail art. Drawing Box differs from the Mail Art of the 1970s and 1980s not only due to new technology, but also the governing rules: each artist may submit only five drawings in one format (A5) and can either let the once made choice travel from venue to venue, or submit new work, especially if there was a sale. Moreover, artists may submit their drawings on the Drawing Box Facebook page only, without posting them to exhibitions organised by volunteering hosts in all or any of the listed venues.

Drawing Box further differs from the earlier Mail Art by not having a militant attitude to institutions. Rather, it follows Joseph Beuys’s advice to artists to learn to use any available resources. Northern Ireland has a respectable tradition of this strategy. The earliest were Available Resources in June-July 1991 in Derry-Londonderry, then  25 years  ago started Catalyst Arts Belfast which is still vibrant and strong,  and more recently Delawab,  Satis House and Household yearly event.

Drawing Box puts its trust into the artworks availability to different audiences.

It has no one curator and one venue. It is engaged in enhancing freedom for artist’s determining what they exhibit and where. Its digital (Facebook) branch allows for spontaneous comments of viewers, in some cases a hundred about one work of art. That luxury is denied in the established models. Yes, the weakness is that visitors of the Facebook page respond to a reproduction, their experience is nevertheless real. I have no scientific evidence about the influence of lens based media on the visual perception, nevertheless, films, video, television, newsprint, photo print are forging quantitatively greater part of our experience with visual art and visual thinking than do encounters with the originals in galleries and museums. I am not proposing that one can replace the other, rather I sense a complementary relationship between them.

The DB hosts at Mumbai (Feb-March 2013) published a handsome catalogue, displayed each artist’s submission on a board, and generally instilled the exquisite sensual beauty of attention to detail, material and atmosphere. The subsequent versions were documented online only.  Let me introduce the four artists who hatched the idea.


Patil Rajendra is a painter, teacher and philosopher. I have noticed, in his paintings, the scale of hues like Indian spices, saturating the surface to the highest possible temperature while avoiding any agitation.


Patil Rajendra 201

Generously, he  regularly feeds his new work onto his Facebook page (Patil Rajendra Mumbai Maharashtra India) offering continuity of thought and comparison. Recent images prefer a dramatic state of mind, incisive  conflict of motifs, at times observed, at times invented, floating in front of the abstract ground. Rajendra does not give titles, dates  and sizes.

Andrew Crane trained in graphic design and now allows his paintings and drawings to remember that by embracing fragmented letters and numbers over an abstract ground.


Andrew Crane, a is to b, 2013, cement and mixed media on card, 23×23 in

He wrote “ I see my paintings  as ‘philosophical ramblings’ in paint and cement” He refers to the method that he developed using cement over canvas as a ground cherishing the material’s character, its stubborn refusal to be as smooth as plaster or gesso.


Andrew Crane, much ado, 2013, cement and mixed media on card, 11×10 in

Crane compares his images to koans – puzzles that inspire meditative state of mind.

Diane Henshaw was a devotee of paper and line ever since I met her during her Master Degree study at the University of Ulster in Belfast.

Diane Henshaw Memory drawings

Anchoring drawings in music, musical notation included,

Drawing Music Diane Henshaw

she invites interpretative attention to her images as compositions of full and empty motifs, of linear and curvilinear, of contrasting hues or a hue  modulated by gradual tonality.

Diane henshaw pink

Each composition offers several states of mind at once. Strongly defined motifs insist on their visual supremacy refusing to submit to any story telling. Indeed like music. Kandinsky used to envy that freedom from narratives.

From the opening of Drawing Box in Dublin – John Crabtree’s drawings at the top, the lower five by Carl Heyward

John Crabtree explores variations on a theme, as if shadowing the master of the Fugue.

Crabtree Untitled Album

Without intending it, he shares with J S Bach exactitude of a scale which gets almost simultaneously dissolved in a torrent of passion governed by chance and instinct. It is  the art of John Cage and Morton  Feldman that invites Crabtree to feel free, to be free, to follow deeply held beliefs. Cherishing the power of ambiguity the space is defined yet not understandable. He wrote: “I paint to dis-arm myself”. Amazingly, the indetermined characters of blobs, squiggles, signs, imprints, collage etc unconditionally direct the viewing to what he surrended to.

Crabtree, Nostalgia

The latest statistics sent to me by Diane Henshaw  lists 108 artists actively taking part in Drawing Box. I struggle to characterised it: it is free of the power of curatorship, of ideology, of celebrities, of the pressures and advantages of dealerships, grants, subsidies etc.  It is freely supported by the artists from all over the globe with quiet confidence and mute enthusiasm that art will find its audience in direct encounters as well as in the mediated ones. The spirit of Facebook forges gentle positive connections without pressure of competitiveness.

Drawing Box is like a diligent pollinator evoking a change from isolation to an exchange capable of forming an encounter based on free will. Good fortune!


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